


Alas, Poor Hrothbert

by MysticKid



Category: The Dresden Files (TV)
Genre: Action & Romance, Angst and Humor, F/M, Screenplay/Script Format
Language: English
Status: Completed
Published: 2015-02-05
Updated: 2015-02-05
Packaged: 2018-03-10 13:58:05
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 8,446
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/3292931
Author URL: https://archiveofourown.org/users/MysticKid/pseuds/MysticKid
Summary: <blockquote class="userstuff">
              <p>In a hail of tommy gun bullets, TV's Harry Dresden tracks a murderer through the very different magical world of a Shakespearean theater.</p>
            </blockquote>





	Alas, Poor Hrothbert

"ALAS, POOR HROTHBERT" 

A COMPLETE SPEC SCRIPT BASED ON THE 

TV-SERIES "THE DRESDEN FILES" 

 

EXT. DESERTED CHICAGO STREET - NIGHT

HARRY walks through swirls of fog. 

HARRY (V.O.) 

My dad called it the 'suspension of disbelief.' It's that moment when you've gotten an audience to believe the impossible. Like you really could see a woman sawn in half... 

He pauses as if to check he's on the right street.

HARRY (CONT.) (V.O.) 

...still have her wiggle her toes at one end and laugh with the other. But then again, the impossible is what you expect from a magician. Isn't it?

INT. 1982 THEATER WING STAGE RIGHT - AFTERNOON

Young Harry watches from the wings as his father performs a coin trick for a child. (S)he is awestruck by the magical windfall. 

HARRY (CONT.) (V.O.) 

Like convincing a kid that maybe, just maybe, when you need it the most, you can find a quarter behind your ear.

EXT. DESERTED CHICAGO STREET - NIGHT

Harry still walking feels behind his own ear for a remembered coin and smiles. 

SPFX: The fog swirls thicker. A lightning flash commands his attention. 

HARRY (V.O.) 

It was a dark and stormy night... No, really, that happens a lot in Chicago. 

SPFX: Behind him, the form of a man seems to be coalescing in the folds and hollows of fog in the distance. 

HARRY (CONT.) (V.O.) 

It was late. And every hair on the back of my neck made me believe I was being followed. 

The man dissolves before Harry can catch sight of him. As Harry walks on CALIBANO reappears, closer. He is wearing an old-fashioned trenchcoat and fedora. 

HARRY (CONT.) (V.O.) 

There'd been a murder. Just a few blocks from my place. Murphy called me in. 

Calibano appears ahead of and facing Harry. He is leaning up against a large theater poster for a production of "Romeo and Juliet," his fedora down over his eyes. Harry double takes, glances again behind him and back again. 

CALIBANO 

Hey Dick, c'mere.

HARRY 

The name's Harry. 

An eye glints from under the brim of Calibano's hat.

CALIBANO 

Tom, Dick, Harry, who cares. You the shamus? A 'dick?' 

HARRY 

Yeah, right, a consultant. I'm with the police. There's a theater around here, the Avon? 

CALIBANO 

You're looking for the murder. Upstairs, 2nd door on your right. 

Calibano nods to his right. 

SPFX: Another flash of lightning and Harry sees the row of lobby doors beside them.

EXT. ENTRANCE DOORS TO THEATER - NIGHT

Harry proceeds to the middle door. Calibano straightens and follows after Harry to reveal the rest of the theater poster behind him. A familiar face appears in the role of Romeo. It is Harry's ghostly mentor, Bob. 

SPFX: Harry puts his hand on the handle of the door and is halfway through. There is the sound and flash of gunfire. Now beside him Calibano reveals a tommy gun from under his coat. He is riddled with bullets and careens through the glass of the door on Harry's right.

 

INT. THEATER LOBBY - NIGHT

Harry is in the lobby. Just as he notices that there is no shattered glass or body, Calibano is standing very close on Harry's left, whispering in his ear. 

CALIBANO 

Don't like goin' outside much. Don't like relivin' old memories. You still wanta go see a murder? 

Calibano is now instantly halfway up the far stairway. 

CALIBANO 

Hey Dick, there's blood on this here floor; make sure you don't add any of your own. 

HARRY 

Thanks, I'll try not- 

SPFX: Calibano dissolves away. 

HARRY (CONT.) 

-to. 

Harry passes through the lobby past a small sign with an arrow reading 'Office' toward stairs on his left.

HARRY (V.O.) 

Ghosts, why is it always ghosts? 

CREDITS

Act I 

INT. UPSTAIRS OFFICE THEATER - NIGHT

Harry enters a small office to join Lt. MURPHY along with a couple of police officers and a coroner bending over a body obscured by a sheet. In front of a large window are a desk and chair. The walls are papered with antique-looking theater and movie posters. One is of the "Astounding Dresden." Harry notes it and smiles a little to himself. 

OFFICER CALLOWAY 

Lieutenant? Lieutenant, we still can't find any. No bullets. No shell casings. No other holes. There's nothing! You can't set off a Thompson and leave nothing behind. Can you? 

Murphy sadly shakes her head and waves him away, looking extra tired and just as irritated as usual. The coroner rises from over the body. 

CORONER 

Can't say for sure until the autopsy, Murphy, but I'm willing to bet there aren't any at all in the body. Couldn't tap one bullet. 

MURPHY 

No bullets. Dozens of bullet holes. But no bullets. 

HARRY 

Did he say Thompson? A tommy gun? As in, ratt tatt tatt tatt tatt? 

Harry mimes holding a machine gun, swinging it in a wide arc.

MURPHY 

(with irritation) 

Harry!?

 

OFFICER CALLOWAY 

(ignoring his Lieutenant's protest)

Yeah, real old gangster gun according to forensics. Somebody's got an antique. 

MURPHY 

Forensics? What Forensics? There's nothing here. 

CORONER 

Pattern of the holes.

Murphy brings a hand up to rub her forehead. Harry perches on the edge of the desk next to her and tries to commiserate. 

HARRY 

I think I know something about that. I mean, about antiques... Headache? 

MURPHY 

What else? {Sigh} A witness came in immediately after hearing the shots to find the vic like this. No one here. No other exit. Certainly no time to pry every bullet outa the body. There's no evidence that someone even tried. In fact, aside from a dead body with holes in it there's no evidence there's been a crime at all. 

HARRY 

The perfect murder... Witness? This late? 

MURPHY 

They were in rehearsals or something. Kermani's questioned just about everybody that was downstairs. No suspects yet. 

HARRY 

I take it I'm on the case.

MURPHY 

Why else would I call you over here? 

HARRY 

I live in the neighborhood? 

MURPHY 

Look, Harry, the manager's an old friend. 

HARRY 

(nodding towards the body) 

This isn't the manager?

MURPHY

No, a lawyer. 

Murphy looks over some papers on the desk, something she sees makes her pause. 

MURPHY (CONT.) 

My friend, Anna, the manager, was the old owner's daughter. She's about to inherit this whole shebang. 

HARRY 

No motive there? 

MURPHY 

For killing the lawyer? We dunno yet, I doubt it, no motive, not the type. Kermani's probably interviewing her right now, I want to get down there. But Harry, she's been thinking this place has been haunted or, or something for a long time. This murder will have her wanting whatever the hell that 'ex' stuff is. 

HARRY 

I'm not a priest. 

MURPHY 

And I'm not superstitious. But even if the department doesn't hire you on this one, she'll pay you for a... 

HARRY 

Consultation? 

MURPHY 

Yeah, right. 

HARRY 

That's what Wizards are for. 

Harry grins winningly. Murphy isn't in the mood, but the hint of a returned smile escapes.

INT. THEATER HOUSE FRONT ROW - NIGHT

DETECTIVE KERMANI and the stage manager, ANNA LESLIE, are standing in the house directly in front of a curtained stage. Harry and Murphy come down the center aisle to join them. 

KERMANI 

Ah, Lt. Murphy, they were all in the rehearsal room. This is the stage manager, Ms. 

MURPHY 

We know each other. Anna, how you holding up? 

SPFX: Under the edges of the curtain wisps of cloud begin to escape. 

ANNA 

Connie, am I glad to see you. I, I don't know. My father dying. Then Mr. Antoni. 

MURPHY 

He was your lawyer? 

Anna nods and takes a breath. 

ANNA 

We were just getting out from under, Connie. We'd managed to line up all the endowments we needed to keep going, maybe even indefinitely. ...Guess it was the shock of not having to worry about anything anymore that killed Dad. 

Murphy hesitates, giving Harry a meaningful look. 

MURPHY 

Anna, you inherit this place. Was it being contested or something? Why did you need a lawyer? 

ANNA 

It's all mine. The lawyer was helping me to work on the endowment grants. We need the money. So what's new? But we still wanted to keep the theater in the family. 

SPFX: More fog is seeping from under the curtain, cascading over the lip of the stage.

MURPHY 

I saw some of the paperwork on the desk. I want to talk to you about... 

KERMANI 

She has an alibi, Murphy. So does everyone else. They were all in a rehearsal room together... 

Murphy brings up a hand stopping Kermani. 

MURPHY 

Did you know Mr. Antoni personally?

Silently, the curtain rises behind them, revealing a medieval garden complete with balcony wallowing in a few feet of fog. Anna distractedly glances at the stage.

ANNA 

OKAY CHARLIE THAT'S FINE. Tech week starts tomorrow. Mr. Antoni? No, he was someone my father hired and I kept him on. 

The fog is getting markedly deeper. It billows over the lip of the stage. Everyone begins to notice their disappearing feet. 

HARRY 

You're still going through with the show? 

MURPHY 

Anna, this is Harry Dresden.

ANNA 

I've been meaning to call you about your services, Mr. Dresden. Connie recommends you highly. 

Kermani rolls his eyes in disgust. Murphy just intently observes the fog creeping up her ankles. Harry makes a point of ignoring them both. 

ANNA (CONT.) 

The show must go on even if we have to step over a body or two and, and need an exorcism besides. ...OKAY, SHUT IT DOWN! ...Have to pay the bills until that grant money comes through. 

HARRY 

I'm sorry but I don't do ex...

 

SFX: A loud clang, then a deep hiss, issues from backstage. 

ROY (O.C.) 

Damn it, Charlie! 

SPFX: Lightning flashes and the sound of thunder echoes. The enveloping fog grows menacing. 

Everyone starts to back away except Anna who mounts a few temporary-looking steps up onto the stage.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - NIGHT

 

ANNA 

Roy? CHARLIE, shut it down! Turn it off! KILL THE WEATHER!! 

ROY (O.C.) 

NOBODY MOVE! 

Anna disappears into the fog stage left.

 

INT. THEATER HOUSE FRONT ROW - NIGHT

Kermani backs up the main aisle. Murphy and Harry head to the steps to follow Anna on stage.

INT. ON STAGE PRESENT MEDIEVAL GARDEN - NIGHT

Murphy tries to follow Anna stage left, but every movement roils the fog even higher obscuring her way.

MURPHY 

ANNA?

Harry is making his way straight back, as if to follow the voice of Roy behind the scenery upstage. 

ROY (O.C.) 

BLOODY HELL, EVERYBODY KEEP STILL! 

After much waving and batting Murphy changes her mind about finding Anna and turns toward Harry. 

Harry doesn't see an electrical cable moving along the floor at his feet. 

SPFX: A section of the wire now in Harry's path seems to burst from inside its insulation. 

Harry steps on the coppery up-turned ends. 

CGI: Lightning issues from above and makes a connection through Harry. He stiffens in its grasp.

MURPHY 

HARRY!

 

INT. 1982 ON STAGE WHITE OUT

Dresden, Sr. is leaning in close to Young Harry. 

DRESDEN, SR. 

Harry? Harry? You can do it. See, it's easy. 

From Young Harry's POV, Dresden, Sr. reveals a palmed coin from behind Young Harry's ear. 

CGI: The image stutters, flashes and repeats again and again. 

DRESDEN, SR. (CONT.) 

IT, it it, IT's easy... 

At the last flash, Harry sees past his father into the wings. There is a glimpse of Young Jen (YOUNG JEANETTE LESLIE).

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - NIGHT

Murphy takes a flying leap and tackles Harry in the chest. They both fall out of sight into the fog. The hiss and storming weather stops. 

MURPHY 

HARRY? Harry! You all right? 

Murphy props herself up on one forearm from off of Harry, waving the fog from his face with her other hand. He grimaces.

 

EXT. MONTAGE

 

A rapid flash of images, flames and an arrow in flight.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - NIGHT

 

Harry brings a hand to the back of his head as if struck and then comes up on his elbows. 

MURPHY 

Harry?

HARRY 

Yeah, yeah, I think... 

MURPHY 

You were almost electrocuted! 

HARRY 

I think you saved my life, Murphy. 

Anna, Kermani, and ROY, the theatre electrician, a distinguished older Roy Dotrice type with wire strippers dangling from his overalls, paddle their way to them. 

SFX: The sound of a fan offstage. The fog dissipates in wafts and tufts. 

ROY 

You both could have been killed! Honestly, this can't happen. 

KERMANI 

Where were you? 

ROY 

I, I was working on the static generator for the lightning effects. There shouldn't have been any juice. ...Could have stressed a threefer in the hanging electrics... But, but I spliced that myself! 

Anna gives Roy an irritated shove. Kermani then angrily grabs and hauls him off stage, as if to question him as a suspect. Anna bends down to help Murphy and Harry up. 

ANNA 

Connie, I'm so sorry. You alright? Are, are you sure? 

Murphy nods, putting a reassuring hand on Anna's arm. Both women turn to put a steadying hand on Harry, who is trying to sit up and shake off his shocking experience.

INT. ON STAGE PRESENT MEDIEVAL GARDEN - NIGHT

The mist has cleared. Harry and Murphy sit together upon a stone bench. Harry cradles a paper cup in his hands. Anna hands Murphy a cup as well. 

ANNA 

I'm afraid that's the last of it, the old coffeemaker's just given up the 

Anna glances over at Harry. 

ANNA (CONT.) 

the ghost. 

Murphy smiles up at her.

MURPHY 

This is enough for me, thanks. 

ANNA 

I do want to hire you, Mr. Dresden. I hope you'll still consider it after all that's happened? 

HARRY 

No problem, consider me hired. 

ANNA 

Thank you.

 

Anna sees something offstage that furrows her managerial brow. 

ANNA (CONT.) 

Excuse me.

Anna exits stage right. 

MURPHY 

Every morning, no matter what, my daughter and I give each other a big hug and say good-bye and, and 'I love you.' No matter what, 'cause, ya never know, ya know? Ya never know if it might not be for the last time. 

HARRY 

Murphy, it wasn't that close a call. 

MURPHY 

You didn't see yourself, Harry. 

Harry studies the last of his coffee realizing just how upset Murphy is. 

HARRY 

You mean, I, we could have died. Like, what if you hadn't knocked me clear a those wires. 

Harry glances over at her, and then away again.

HARRY (CONT.) 

...And you thought you'd go out in a hail of bullets, huh? 

MURPHY 

Yeah, right. Real bullets, not like. 

She nods and glances back toward the upstairs office. 

HARRY 

Or get hit by a bus. 

MURPHY 

Or meet Mr. Electric Personality. 

They both laugh nervously. Murphy downs the last of her drink and chuckles. 

MURPHY 

Good coffee.

 

 

INT. THEATER WING STAGE RIGHT PRESENT - AFTERNOON

Backdrops in the fly gallery with their rigging to the pinrail above, glare erases action on stage; Harry, at a loaded prop table, studies an old painting on the wall above it. It is of an Elizabethan man with a strangely familiar skull. It sparks a memory.

 

INT. 1982 THEATER WING STAGE RIGHT - AFTERNOON

Young Harry is looking up at the same painting standing next to a very similar but differently appointed prop table. 

YOUNG HARRY 

Why do we have to be here? They're not even going to pay you. 

DRESDEN, SR. 

Never pass up the chance to do the world a favor, Harry. It may pay you back some day. 

The magician grins back at Young Harry and strides out on stage. He disappears into the brightness of Harry's memory with a flourish of silk flowers. The sound of a thousand kids' laughter greets him.

 

INT. THEATER WING STAGE RIGHT PRESENT - AFTERNOON

 

Harry squints into the lights on stage and smiles. He tries to adjust to the glare as...

INT. ON STAGE - AFTERNOON

Harry sees the outline of someone coming across the stage towards him from the opposite wing. At first the woman looks like the Young Jen of his electrical encounter.

 

INT. THEATER WING STAGE RIGHT PRESENT - AFTERNOON

 

As she nears, Harry squints. The present day Jen (JEANETTE LESLIE), is like Patty Duke in a work jacket with glasses on the end of her nose and a pencil stuck alarmingly in the bun of her gray hair. She joins Harry. Her head quizzically tilts over to one side. A permanent smile strays a little too far up one side of Jen's face, but it is still warm and engaging. 

JEN 

Memories? 

Harry looks over at her, still not sure of how he seems to know her.

HARRY 

Yeah, my Dad played here once. 

JEN 

He was an actor? 

HARRY 

No, a magician. 

JEN 

Ahhh. A hard life. Were you born in a trunk? 

HARRY 

Sort of. 

They look out into the glare on stage in silence. 

JEN 

Pretty impressive isn't it? 'All the world's a stage' and all that {with reverence}...and out there in the dark, just beyond all those lights, God waits in the audience. 

HARRY 

Or something else does ...Something scary? 

JEN 

Who ARE you? 

HARRY 

"Harry Dresden, Lt. Murphy referred- 

JEN 

Oh yes, Anna mentioned that her friend would... Murder is one thing but This IS pretty ridiculous. I don't know why Anna, ah, why the manager, thought it necessary to bring in a, a... 

HARRY 

A Wizard. 

JEN 

Noooo, a gypsy fortune teller, a ghost buster 

HARRY 

Wait. 

JEN 

a spiritualist 

HARRY 

Wait. 

JEN 

an exorcist voodoo foodoo kung fu 

HARRY 

Wait! Just think of me as a private detective. I'm here to look around and make sure there's nothing 

Noting her expression, he adds with special emphasis, 

HARRY 

Untoward? 

She appreciates his use of the word. 

HARRY 

And then go from there. Okay? 

JEN 

Yes, I see. Forgive me, just call me Jen. I'm Jeanette Leslie, the theatre dramaturg. 

HARRY 

A what? 

JEN 

I suppose I'm an historian as well. But usually I make sure a costume designer doesn't fit a Victorian shirt under an Elisabethean doublet. Or an armorer doesn't have Henry V swing a Roman gladius at Agincourt. {Chuckle} Can you imagine? 

HARRY 

Ah... no... You were here last night? When the murder happened? 

JEN 

Yes, that's why the police questioned me. 

HARRY 

Well, did you hear or see anything ...untoward? 

JEN 

My office, actually prop storage, is next door to the manager's. I heard two men laughing, then someone taking leave down the hallway. It couldn't have been more than a minute later that I heard Mr. Antoni. There was a horrible racket. 

HARRY 

Could you hear anything that was said? 

JEN 

I don't think so. Or, or perhaps 'NO, NO, NO' and then CRASH. I rushed in after that. Hope never to see such a sight again. It was horrible, simply horrible. 

HARRY 

Did you know Mr. Antoni? Did he have any enemies? 

JEN 

Officer Kermani asked that too. How cliché. {chuckle} ...I'm sorry. He was our lawyer. My late husband, the owner of this theatre, hired him before he died. I'd say the young man was too young to have made many enemies, but I'm sure I wouldn't know. 

HARRY 

I'm sorry for your loss. 

JEN 

Thank you. Robert and I hadn't been that close for some time. He'd been married to this place long before me.

Harry glances around at the ramparts nearby deciding to change the subject. 

HARRY 

What's the play you're doing? Shakespeare? Hamlet? Macbet... 

JEN 

NOOO, YOU'VE SAID IT! NOT the name of the Scottish play! Now spit. 

HARRY 

What!? 

JEN 

You've said THAT word. Spit! Pouring a libation for the gods. Spit!

Harry looks at her as if she's gone mad, sees he has no choice ...and spits. A stagehand with a mop appears behind them giving them both a dirty look drawn from too many past experiences. 

JEN (CONT.) 

Ask forgiveness and TURN three times. To reverse time. 

HARRY 

But, I, oh, alright. FORGIVE ME. 

Harry sheepishly lets her turn him three times. 

HARRY (CONT.) 

Okay? 

JEN 

Now go out and come back in again. 

Harry tries to object. 

JEN (CONT.) 

Go on! Go out to start the day again. 

Harry leaves and comes back in again. 

JEN (CONT.) 

WAIT! Ask permission to enter and swear never to say it again. 

HARRY 

(sigh)

May I have permission to enter? Iswearnottoeverdoitagain. OKAY? 

JEN 

Curse! 

HARRY 

DAMN IT!! 

JEN 

There. Enough. There's the supernatural and then there's real superstition!! 

A medieval two-inch broadsword falls from high above them. It lands whistling directly in front of Harry, swaying on its tip at his feet. Jen doesn't notice. Harry looks up and then down again turning pale with shock, tugging at his impaled pant cuff.

JEN (CONT.) 

And you a child of the theater, too! Shame on you. ...No, THIS is "Romeo & Juliet." Very romantic. 

She still hasn't noticed the sword. Harry looks at her in disbelief. 

JEN (CONT.) 

...Or, at least it was. Have you seen the fly gallery, the rain bar? The director's got an entire weather array up there. They have rain, wind, thunder, lightning throwers. 

A flurry of actors in medieval costume engulfs them and then troops out onto the stage. Jen doesn't seem to notice them either. 

JEN (CONT.) 

Some gimmick about having the weather mirror Romeo and Juliet's emotions. Looks more like King Lear up there. 

DIRECTOR (O.S. UNDER) 

Okay, places everybody. Let's see if we can't finish the run-through. We can't lose another day. Romeo! Romeo? Where's Miles?

JEN (CONT.) 

At any rate, what was I saying? The Supernatural? Yes, this theater is rather famous, or should I say infamous, for strange things happening. But this, this murder... 

DIRECTOR (O.S. UNDER) 

Romeo? 

MILES (ROMEO) 

Coming... who took my friggin' sword!? 

Harry recognizes the voice and turns to see what should be a ghost, but isn't. MILES BAINBRIDGE (Romeo), a slightly younger, dark-haired version of Harry's ghostly companion, Bob, goes to the prop table and rummages. 

HARRY 

Bob!? 

Miles looks over from the prop table and sees the sword at Harry's feet. Jen questioningly looks at Harry, at Miles, then follows Miles' gaze down to the sword. Jen gasps. 

MILES (ROMEO) 

You found it! 

JEN 

How did!? 

The actor grabs the hilt and finds he can't free it from the floorboards. Miles looks up at Harry accusingly as if this were a practical joke. 

MILES (ROMEO) 

That's NOT funny. 

Miles tries again. This time the sword comes free. Miles goes back on stage with it. Jen looks at Harry with a horrified expression, Harry just looks nervously up into the fly gallery. 

FADE OUT

 

Act II

INT. DRESDEN'S SHOP - AFTERNOON

Harry is seated in his shorts, attempting to mend the sword-rent in his pants leg. Bob watches disapprovingly. 

HARRY 

Definitely a ghost. But there was something about that theater. An energy in the place, I can't describe it. 

BOB 

A crossing of ley lines? Convergence of forces? A myriad of synchronicities consolidating together? 

HARRY 

I wouldn't have put it that way. 

BOB 

(Disparagingly) 

I know... Harry, you don't need... 

Bob gestures at Harry's attempts at repair.

HARRY 

Uh, Oh, right, rriigghhtt. 

Harry puts down the usual implements, and holds his hand over the damage. 

SPFX: The hand glows, magical re-weaving occurs. 

HARRY (CONT.) 

There. 

Harry looks pleased with himself. 

BOB 

A VAGUE presence then. The ghost of a gangster, complete with... a sub-machine gun? A bullet-riddled corpse ...with no bullets. And a theater that seems to want you dead. Nothing new in that. And you thought I might be interested how? 

HARRY 

'Cause I think I might have found you a long-lost relative. 

BOB 

Of Bainbridge you mean? Not impossible... My stock was sturdy if not prolific. What is it they say? Everyone is a sixth cousin to someone else? ...Please put your pants on. 

Harry hops one leg and then the other back into his pants.

HARRY 

I dunno, but this guy looks like your twin. 

BOB 

Well, we know he's not a reincarnation. A doppelganger? Not likely. 

Harry picks up the ghost's skull from the desk and peers at it meaningfully.

BOB (CONT.) 

Still, it's good to get out of the house once in awhile.

HARRY 

All I want you to do is scout around. 

BOB 

Takes one ghost to catch another? 

HARRY 

At least one ghost can't kill another. 

Bob nods in agreement, as if he had any choice but to follow wherever his skull is taken.

BOB 

I see. 

Harry places the skull in a cloth shoulder bag. 

SPFX: Bob evaporates with a flourish into the bag after it.

 

INT. THEATER WING STAGE RIGHT PRESENT - AFTERNOON

Harry places his bag to the far side and back of the prop table, revealing the skull and then tucking it away. Bob stands beside him, choosing to be invisible to all but Harry. 

BOB 

There is something. A spell was performed here recently. 

HARRY 

Ah, no, that was me. Don't ask. Power, huh? C-converging? 

Bob glowers and tries to ignore his protègè. 

BOB 

It's been a long time since I've been to a theatre. I do sense, something. ...But any theatre is a natural crucible of forces. A gathering place for muses and fates. An illuminator of life in all its manifestations. 

HARRY 

Speaking of which- Ghost? ...Homicidal Ghost... Remember? 

BOB 

There is always magic in any theatre, Harry. Ancient as Chauvet-Pont-d'Arc, Aroin and Dionysus. A mirror held up to all mankind. The conscience of kings. The... but... there is... 

Miles approaches from the glare on stage and fumbles around the prop table. Harry nervously glances up into the fly gallery. 

SPFX: Miles shakes his head then passes directly through the incorporeal Bob. Miles disappears back onto the stage unaware of the encounter.

BOB

Good casting. But I think I might have worn the hose a bit better. 

Harry arches an eyebrow. 

BOB (CONT.) 

This IS MY play you know. 

Harry raises both eyebrows. Bob notes the expression. 

BOB (CONT.) 

Oh I don't mean I wrote it. I'm not at liberty {distracted by the painting of the man with skull over prop table} to say... Certainly not that Stratford lad. But it was based on more than just an Italian legend...

HARRY 

"Romeo and Juliet." 

BOB

Yes. 

MERCUTIO (O.S.) 

No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough,'twill serve: ask for me to-morrow, and you shall find me a grave man. I am...

HARRY 

YOURS!?

 

INT. ON STAGE - AFTERNOON

The backs of cast members are seen. They turn as one towards Harry in the wings. 

CAST 

SSSHHH! 

MERCUTIO 

HEY, I'm DYIN' HERE, OKAY! A plague on BOTH your... Oh, dammit.

 

INT. THEATER WING STAGE RIGHT PRESENT - AFTERNOON

HARRY 

SORRY! {whispers} Sorry. Yours? 

BOB 

(subdued) 

With quite a few alterations... A tale told amongst sorcerers that history will never recall. 

SFX: Romeo and Tybalt clash. Harry and Bob talk above the noise of the swordfight.

HARRY 

(whispers) 

But, but your ...YOUR legend? 

BOB 

The living versions of Romeo and Juliet died in 1305 whilst the Mordichi and Capulatti feuded over the Avingion papacy. ...Why do you suppose they were renamed as Montague and Capulet? There was a more secret, more local, couple that suffered a... A similar fate. 

SFX: The sound of a growing storm obscures the clanging of swords. 

Harry almost asks, then stops himself. He looks meaningfully at the ghost but decides to delay his curiosity. 

HARRY 

Take a look around, okay? 

Bob nods. 

SPFX: Both are startled by a lightning flash. 

SFX: Thunder roars. 

MILES (ROMEO) (O.C.) 

Oh, I am fortune's fool! 

Bob's face clouds. 

SPFX: Bob evaporates to the work at hand.

 

INT. UPSTAGE THEATER - AFTERNOON

Harry and Roy walk along together behind scenery. 

ROY 

Sorry I can't give you more of a tour... watch your step around this rigging, the scrim, oh and, ah, and THE ELECTRICS. As you already know, theaters can be dangerous 

Harry suddenly plummets, disappearing from beside the oblivious Electrician. 

ROY (CONT.) 

places. 

Roy realizes, turns and glances down.

INT. BELOW STAGE BENEATH TRAP DOOR - AFTERNOON

Harry squirms, sprawled over a pile of sand bags. Roy peers down at him from over the edge of a trap door. 

ROY 

Good Lord! Are you alright? 

HARRY 

Yeah, I'm {grunt} just {grunt} fine. 

ROY 

I could swear that was closed. Good thing we keep the extra sand bags down there. Hey Charlie! You leave the upstage trap open? Charlie!? 

Harry wobbles himself upright atop the sand bags. 

ROY (CONT.) (O.C.) 

Watch yourself, I'll throw down the tackle stairs! 

HARRY 

The what? 

ROY (O.C.) 

A rope ladder! 

Harry has no time to dodge the ladder as it falls. 

HARRY 

OW! 

ROY 

SORRY! 

Harry puts a foot on the first rung, looks up and sees Calibano peering down at him from over Roy's shoulder. 

HARRY 

HEY! 

ROY 

What? 

Calibano is gone. 

HARRY 

He... oh, never mind. Coming up!

Harry grabs hold and tugs hard testing the ropes of the ladder before he ascends. Roy helps him the rest of the way up and out.

 

INT. UPSTAGE THEATER - AFTERNOON

Harry dusts himself off as Roy watches. 

ROY 

But you see what I mean? We've got a half dozen of these. All sorts of things that can get you into trouble. I really don't like the idea of you wandering around on your own. 

HARRY 

That's okay, I'll be more {groan} careful next time. I'll let you get back to work and I'll start doing mine. 

ROY 

(laughs) 

The mumbo jumbo you mean? If you must. 

HARRY 

Yeah, that. 

Harry waves Roy off picking his way forward, but pauses to look back. 

HARRY (CONT.)

Fool me twice, shame on... 

Harry regards the open trap door with a dubious glare. 

FADE OUT

Act III 

INT. PINRAIL ABOVE THE STAGE - EVENING

Harry with Bob close behind treads along the pinrail, lights from below casting eerie shadows over their faces. 

BOB 

Harry? 

HARRY 

What? 

BOB 

Look out. 

Harry dodges a junction box at the end of a cable swinging towards him. He turns to smile triumphantly. 

HARRY 

Missed me. 

BOB 

Harry? 

Harry follows Bob's gaze, the junction box is penduluming back at him from the other way. He ducks. 

HARRY 

I'm getting really tired of this. 

BOB 

Harry? 

HARRY 

WHAT!? 

BOB 

(whispers) 

OVER THERE... 

Without taking a beat Harry produces his drumstick wand. 

CGI: A ball of light emanates from the wand, follows a running shadow and engulfs, then pins Calibano into a corner. 

CALIBANO 

Okay! OKAY! 

Harry and Bob advance. 

JULIET (O.S.) 

ROMEO!? 

Juliet's voice stops Bob. He looks down to the stage.

 

INT. STAGE AS SEEN FROM ABOVE - EVENING

Romeo and JULIET (KATHLEEN LESLIE) from Bob's POV gesture to one another.

 

INT. PINRAIL ABOVE THE STAGE - EVENING

Bob leans forward as if shocked by what he sees. 

JULIET (O.S.) 

Romeo, doff thy name, And for that name which is no part of thee Take all myself.

Harry continues toward Calibano. Bob is no longer behind him. 

CALIBANO 

OKAY! OKAY! Ya got me, Dick. Ya got me good. Do your worst... Send me ta hell. I don't care. Just, just don't let 'em tear down the place? That's all I'm askin'. 

HARRY 

Calm down, stop struggling. Tear down what? The Avon? Who said anything about taking the theater down? Relax! 

CALIBANO 

That's what they was plannin!' Antoni and, and that big shot. Antoni was gonna lose Anna the grant money, steal the theater! They was planning to divvy up the haul. Gonna tear it all down. 

Calibano appears to tire, then goes limp. Harry takes pity and releases him. Calibano blinks down at himself then looks questioningly at Harry.

INT. THEATER WING STAGE RIGHT PRESENT - EVENING

Jen has Harry's bag and has found Bob's skull inside it. 

JEN 

What are you doing here, Yorrick? ...You're not Yorrick. 

Jen distractedly holds up the skull looking closely at it, running her hand over its carved symbols. Adjusting her glasses, she looks up at the painting above the prop table, reaching up to touch the similarities. A step away Bob stands invisible to her, never taking his eyes from the stage. 

BOB 

Kindly stop fondling my cranium, Madame. And who are you to say that I wasn't the very FIRST Yorrick? 

JULIET (O.S.) 

My bounty is as boundless as the sea, my love is deep, the more I give to thee the more I have, for both are infinite.

BOB 

It can't be. It can't be.

INT. PINRAIL ABOVE THE STAGE - EVENING

SFX: A storm is brewing again. The sound of rain, wind, and thunder grows. 

CALIBANO 

I tried to scare ya off, but ya just kept coming didn't ya? I whacked the shyster, I'm goin' ta hell anyways. Guess I'll just have ta... 

SPFX: Lightning flashes as Calibano surprises Harry by bringing his tommy gun up into firing position. 

Harry backs away to the railing. 

HARRY 

Now, now, wait a minute.

CALIBANO 

'Dis is for my Anna! 

SFX: Thunder mixes with the sound of Calibano's gunfire. 

SPFX: Harry cringes and drops to the pinrail in a fiery hail of bullets. 

FADE OUT

Act IV 

INT. PINRAIL ABOVE THE STAGE - EVENING

Calibano lowers his smoking gun with a shocked expression. 

HARRY 

Got that out of your system? 

Calibano looks down at the gun and then at Harry seated on the grate. 

CALIBANO 

But, how? How come you ain't... 

HARRY 

Shot? 

CALIBANO 

Yeah. 

HARRY 

You see any bullet holes? 

CALIBANO 

No. 

HARRY 

Maybe you didn't shoot Antoni either. 

CALIBANO 

You think I don't knows a hit when I sees one? 

HARRY 

Yeah, but I don't think Antoni knew a ghost when HE saw one. He believed in what he saw. What he thought you were. 

Harry rises to his feet, takes note of the distance down to the floor below and winces. Calibano looks confused. 

HARRY (CONT.) 

Antoni saw a hit man with a tommy gun ...It was his belief that killed him. Belief under the right circumstances, in the right places, can make impossible things happen. 

CALIBANO 

He killt himself? 

HARRY 

No, his belief, maybe even his guilty conscience, made your bullets real. 

CALIBANO 

Wait a minute, ya mean I didn't do it? 

Calibano looks down at his gun and shrinks back against the wall. 

CALIBANO (CONT.) 

Dare goes da perfect murder. 

HARRY 

Disappointed? 

CALIBANO 

Nah, I was never nothin' and I still am. Know what my only claim to fame was? That I got mine bloodying up the carpet down in the lobby. That's me. Davy 'da Dip' Calibano. It's ta laugh. 

HARRY 

(stifling a chuckle) 

Not exactly public enemy number one. 

CALIBANO 

Hey, you try pickin' one a these {holding up gun} outta some mug's pocket. Stupidest ting I ever done, too. 

HARRY 

So you shot at Antoni, for Anna? 

CALIBANO 

She don't know nothin' Don't let 'em pin the rap on her. I'm sorry Antoni died. But, but guys like him don't have no right, don't understand. 

HARRY 

Understand what? 

CALIBANO 

This ain't no five n'dime store. People come here and laugh when they don't feels like it, or gets to crying when dey needs to. It kinda keeps 'em goin,' ya know? 

A smile of recognition starts to grow on Harry.

HARRY 

Uh huh. 

CALIBANO 

I seen plenty of 'em living on the bread line. Anna and the rest, some of 'em just get by on ketchup soup sometimes. Dat's a hard life, ketchup soup. But it don't matter to 'em. It don't matter to 'em 'cause the show's gotta go on. Ya get me? 

HARRY 

They're doing the world a favor.

CALIBANO 

Yeah, yeah, that's it. So what's dey got to keep dem goin'? ...Me... Nobody... But I'm here ain't I? 

HARRY 

Anna will be fine, she hasn't lost the grant either. 

CALIBANO 

Yeah? {Grinning} Hard as nails, but ain't she a peach? 

HARRY 

She sure is.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

Anna stands before Miles and Kathleen who sit dejectedly dripping from the director's last rainstorm upon the stone bench. 

ANNA 

You kids can work it out, keep trying... We're going 'round the corner. The coffee urn's had it. We're getting a new one! 

Miles and Kathleen applaud and cheer the news. 

KATHLEEN 

Our first new purchase! Yippee! 

Anna gives a royal wave and exits stage right.

 

INT. THEATER WING STAGE RIGHT PRESENT - EVENING

Jen is staring into the skull as if hypnotized. Anna passes by the still invisible Bob. 

ANNA 

Mom? ...We're going now. Come with? 

JEN 

What? Oh, no dear.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

SPFX: Bob stands before his double Miles and Kathleen. 

KATHLEEN (JULIET) 

I feel like I'm in a wet t-shirt contest. 

MILES (ROMEO) 

I can't get used to all this, this weather either. How do we get the pacing if we're half-drowned? It... 

Miles notices Kathleen's expression has changed. He follows her gaze and sees himself? (Bob). Miles looks back down at his own body as if to see if he is still there, then up again at Bob. 

MILES (ROMEO) 

Who? I... 

BOB

(to Kathleen) 

Winifred, have I changed so much? 

SPFX: Miles stands up just as Bob steps closer. Miles raises a hand to push Bob away but it passes right through. 

Miles recoils with a shout. 

SPFX: Miles and Kathleen stand up and back away. Bob starts to follow.

INT. PINRAIL ABOVE THE STAGE - EVENING

Harry has heard Miles' yell and turns to look down at the stage. 

HARRY 

Have you gone out of your MIND!

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

 

Miles draws his sword as if to defend Kathleen. This finally gets Bob's attention. 

MILES (ROMEO) 

(To Kathleen)

RUN!!!

Bob watches her go, perplexed, then pauses to look down questioningly at Miles' sword and then back up at Miles. Miles reaffirms his shakily heroic stance. 

SPFX: Bob takes a step closer and the sword point harmlessly disappears into him. 

Miles reacts, drops the sword and beats a hasty retreat. Bob starts to follow after them, chuckling a little at his descendent's hapless chivalry.

JEN(O.C.) 

Do not mistake the actress for the part, Hrothbert of Bainbridge! 

Bob stops.

BOB 

I beg your pardon? 

Jen changes as she crosses the stage towards Bob, her frame straightening, her years falling away. 

BOB 

WINIFRED!? 

Joy and relief play across Bob's face. But Winifred is resentful, if not angry. 

JEN/WINIFRED 

To live a thousand lifetimes... without you. To know birth and life. Love without you ...Pain and death... without you. And after so much time... after all this, you look for me where I am not? 

BOB 

Winifred, you've. You're here. How...

JEN/WINIFRED 

Did you not know the fate of necromancers at the hands of your pious priests? 

Winifred now stands directly face to face with Bob. 

BOB 

I would have fared no better with your Pagan kind. ...But it would have worked. It was working. You were coming back to me! 

JEN/WINIFRED

But your Normans stopped you. They stopped my life and took yours as well. ...Did you not hear the Wise Woman say "forever" when we were wed? Did you not believe it true? Did you not swear "unto death and beyond?" 

BOB 

They were only words after you had gone, Winifred. 

Winifred now bears a striking resemblance to Jen's granddaughter, Kathleen. She speaks as if she is running out of time. 

JEN/WINIFRED 

But I was not gone, any more than you have gone. You have cursed us both, Hrothbert. I live and die ...without you... Again, and again, and again. 

BOB 

But, but we're together now. Stay with me! 

JEN/WINIFRED 

Wouldst thou mourn me, my love, as before? Go mad, as before? Again and again? Wouldst thou search for me amongst all who might be born tomorrow and tomorrow and tomorrow? 

Bob looks away. Winifred, too, seems to waver. 

JEN/WINIFRED (CONT.) 

Again and again, and... 

Bob looks back up at her with concern. Winifred fights an inevitable transformation back into Jen. 

JEN/WINIFRED CONT. 

Hear me before I... Before we part.

BOB 

NO! ...Keep me with you. You can! Harry will let you. You could have the... 

JEN/WINIFRED 

Listen! Our vow still holds us together 

Winifred is losing her battle within Jen. Bob tries to finish her thought. 

BOB 

But still trapped. Kept apart. By my curse. Yes? 

JEN/WINIFRED 

Wait for me

Jen's lopsided smile has returned. 

JEN/WINIFRED (CONT.)

Not even eternity can be forever? 

They look for solace in each other's eyes, but Bob is losing Winifred once more. In desperation he steps towards her. 

BOB

I'd burn a thousand times all over again to be with you.

 

Jen quickly brings her hand to her mouth as if to stifle a sob of recognition. She presses the fingers to her lips then darts them out towards Bob. 

JEN/WINIFRED 

(whisper) 

My poor, dear, Shadow. 

Jen's outstretched hand passes through Bob's face, unable to touch it. Her arm falls and as it does Winifred is gone. Jen's gaze sees nothing, as if Bob no longer exists; as if she has already forgotten the whole exchange.

ANNA (O.C.)

Mother? 

JEN 

Yes Anna, coming. 

Anna returns, a large brown bag with a coffee urn-sized box in it in her arms. She looks around confused and puts it down on the stone bench. Bob stands staring in shock at Jen, unmoving, invisible again to both. 

ANNA 

What happened to Kathleen and Miles? Who were you talking to? 

JEN 

Hmmm? 

ANNA 

You were talking to someone.

JEN 

Oh, was I? ...Myself, I suppose. ...When did I start doing that? 

ANNA 

Didn't you see anything strange... They both just ran past me looking like they'd seen a...

JEN 

Didn't who? 

ANNA

Miles and Kathleen. You don't suppose it had something to do with Mr. Dresden, do you? 

Bob follows every word from Jen, searching her face as if hoping to find some last vestige of Winifred still there.

JEN 

Ah, no dear, I, I don't think, I haven't seen that Mr. Dresden since yesterday. 

ANNA 

You look done in. Come on, I'll take you home. You've been here all day. 

JEN 

I am feeling... very... tired.

INT. THEATER WING STAGE RIGHT PRESENT - EVENING

Harry emerges from behind folds of curtain at the wing's edge; he has obviously heard and seen everything.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

Harry, Jen, Anna, and Bob on stage. Harry glances furtively at and then away from the traumatized Bob, trying not to be distracted from the conversation at hand. Jen is fully back to her usual verbose self. 

JEN 

Mr. Dresden, you've met my daughter Anna. She's the stage manager. It's quite the family affair here. My grand-daughter is playing Juliet. Everyone says she looks ...just like me. 

HARRY 

Oh? Ah, yes... Anna? I think you'll find everything's fine. Some of your people may have a story to tell, but... that's... over now. 

Harry can't conceal his concern. Bob finally looks away from Jen and acknowledges Harry, slowly shaking his head in despair. 

ANNA 

And Mr. Antoni? 

HARRY 

Oh, ah, a case of suspended disbelief. 

ANNA 

Suspended disbi...!? 

HARRY 

That's all I can say, I'll advise the police. ...I do have one suggestion. Once you finalize that grant, I think you should re-name the theater. 

ANNA 

Why, ah, to what!? 

HARRY 

I'd call it 'The Caliban.' Short for the David Calibano Memorial Theater. Kind of has a ring to it. 

ANNA 

But... but Caliban was a wretch, a villain! 

HARRY 

In honor of a reformed character, your own guardian angel. 

JEN 

David... Oh, Davy Calibano? The gangster!? ...Anna, you remember. 

ANNA 

What? 

JEN 

The criminal that tried to rob the theater and was shot by the police in the lobby. It was back in the thirties, I think. I showed you the clipping, remember? 

Both Jen and Anna pause to absorb the idea that their theatre is indeed haunted. More importantly, that it is haunted by a ghost that's actually an asset worthy of recognition. 

ANNA 

OH! I, I see. Ah, I, um, will definitely consider it. Thank you for your help. Is there anything else we should, ah, do? 

HARRY 

You mean the care and feeding of ghosts? 

Harry tries to smile, but can't shrug off what he sees and they cannot. Bob is still at once transfixed and devastated by Jen's every breath.

HARRY (CONT.) 

Um, he can take care of himself... You might try talking to him once in awhile. It can get pretty... lonely.

ANNA 

Yes. I'll, I'll try. I apologize again for the, ah, accidents? ...I hope you enjoyed seeing part of the show?

 

HARRY 

No harm done. No. I mean, yes. A, a lot of fun. 

Anna winces at his choice of words and responds flatly to the faint praise. 

ANNA 

Thank you. 

Anna and Jen start to leave, but Harry stops them. 

HARRY 

Jeanette Leslie... 

Harry takes the older woman's free hand and looks closely into her face. 

HARRY (CONT.) 

...it was an honor to meet you. 

Both women look puzzled but decide to humor him. Anna picks up her package again. 

ANNA AND JEN 

Well, ah, well, ah, thank you. Thank you. Good night. 

HARRY 

Good Night. 

Harry watches the women leave, then finally confronts Bob directly. He tries half-heartedly to make light of what he knows is anything but. 

HARRY (CONT.) 

Well, THAT was awkward, eh, Bob? 

But Harry can't keep up the pretense. He takes a step closer toward Bob.

HARRY (CONT.) 

What just happened? Was that, is Jen, Winifred? 

Even the sound of her name hurts. 

BOB 

An endless cycle of reincarnations. 

HARRY 

But you could be with her! 

BOB 

With whom? This woman isn't Winifred, she may be an echo of her, even the essence of her, but she isn't Winifred any more than I could be Romeo. 

HARRY 

At least it gave you a moment. 

BOB 

A moment? A moment! A moment after how many hundreds of years? At least before, I thought Winifred had moved on, had found peace. 

HARRY 

I'm, I'm sorry. ...Bob, did I hear you say burn? As, as in... burned at the stake?

BOB 

Until a friend with a crossbow could bear it no longer and...

 

EXT. MONTAGE

 

A rapid flash of images, flames and an arrow in flight.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

 

Bob instantly brings a hand to the back of his head where the damage was done, as if momentarily reliving the instant of death. 

BOB (CONT.) 

What does that matter now? How does anything matter? ...You know Harry, playing a tragedy may be beautiful. But living one? Living one is ugly.

SPFX: Mad with frustration, Bob charges off stageright, directly through Harry. Harry is caught off guard and fully registers feeling helpless and ill-equipped.

 

INT. THEATER WING STAGE RIGHT PRESENT - EVENING

Bob stops at the prop table and looks down at his own skull as it sits in full view atop its bag. 

BOB 

It was my folly that did this to us. Forgive me, Winifred, forgive me.

Bob bends down, scowling, eye to eye with his own skull. 

BOB (CONT.) 

WHAT ARE YOU GRINNING AT!! 

Bob straightens still staring down at it. Without warning he brings both fists down as if to crush the offending brainpan. 

CGI: The fists pass harmlessly through the skull. It remains untouched and unharmed. 

SPFX: Utterly defeated, Bob crumples and evaporates back into the skull's sanctum.

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

 

Harry regains his own composure and follows after Bob.

INT. THEATER WING STAGE RIGHT PRESENT - EVENING

 

HARRY 

Bob. 

Harry gently gathers up the bag and Bob's skull as if escorting a much-loved child away from a tragedy. Slowly he walks back on stage.

 

INT. ON STAGE PRESENT MEDIEVAL GARDEN - EVENING

Harry approaches the stone bench, now holding Bob's skull in his hand very much as the Elizabethan does in the portrait over the prop table. He sits down heavily and ponders the skull as some modern-day Hamlet might, then desperately hugs it to him as if it were the man within.

HARRY 

Bob... It can't be forever. It won't be forever. There's no such thing. Believe it, Bob. Believe it.

 

INT. ON STAGE CRYPT SET - NIGHT

Among the funereal columns and arches of "Romeo and Juliet's" final scene the lovers lie dead at the center of a pool of mist. A pale light strikes the bodies from the upstage door of the tomb. 

SFX: Muffled applause is heard and grows thunderous. 

The pair awakens to it, smiling at one another. They join the row of cast members taking their bows downstage.

INT. THEATER HOUSE - NIGHT

A house full of ecstatic patrons rises to their feet, applauding.

 

INT. THEATER WING STAGE RIGHT PRESENT - NIGHT

Anna peeks around the curtain to survey the audience, then gives Jen and the rest of the cast an excited thumbs up. 

Inexplicably, Jen's expression saddens as her gaze grows distant. 

But as Anna is handed flowers by one of the cast to present to Kathleen on stage, Roy {wearing a plumed hat} comes up beside Jen and presents her with a single flower. It is plain that love will be growing between them. As she accepts his gift, smiling again, Roy flourishes grandly with his hat and bows, at which all 'round applaud and laugh.

 

INT. PINRAIL ABOVE THE STAGE - NIGHT

M.O.S. Calibano is leaning down over the railing, waving and shouting unheard above all the continuing applause the way one might at a baseball game. 

M.O.S. Calibano falls back against the rigging behind him firing his tommy gun soundlessly into the air in celebration.

 

EXT. DESERTED CHICAGO STREET - NIGHT

Harry, his bag with Bob's skull in it over his shoulder, walks slowly away into the fog. 

HARRY (V.O.) 

It was another dark and stormy 

night... A lot of 'em are. 

Harry pauses, briefly looks back at some memory, then moves on.

HARRY (V.O.) 

But morning's always right around the corner. That's what my Dad used to say. 

Farther away, he pauses to turn up his collar and hunch against the damp. 

HARRY (V.O.) 

All it takes is just a little belief. 

SPFX: Harry is swallowed by a thick bank of roiling mist. Only the disturbed curtain of fog remains. 

HARRY (V.O.) 

Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate.

Higher and higher above the cloud-shrouded street the Chicago skyline emerges gleaming, bathed in sunrise.

 

END


End file.
